LFW 2025
Burberry
Finally—a Burberry collection that feels like Burberry. Daniel Lee locked in the vision this season, and it showed. The heritage, the edge, the luxury—it was all there, just refined and elevated. Tartans, moody florals, deep velvets—but done in a way that felt rich, not costume-y. There was an effortless British countryside-meets-London cool energy, the kind of Burberry that should have been happening all along. The outerwear? Insane. The trenches had weight, the coats had presence, and the whole lineup finally looked like a brand leading the conversation rather than catching up to it.
Lee played it smart—he leaned into the nostalgia but kept it sharp. No gimmicks, no desperate rebrands, just Burberry at its best. It felt expensive, it felt tactile, and most importantly, it felt like it belonged. After years of inconsistency, this was a Burberry that actually deserved the hype. If Lee keeps this up, he might just make Burberry THE brand to watch again.
Simone Rocha
Simone Rocha doesn’t just design clothes—she builds entire worlds. And this season? It was a world where romance and rebellion clashed in the best way possible. Fall 2025 was Rocha at her most layered, emotional, and tactile, a collection that pulled from the delicate and the defiant without losing the DNA that makes her brand so singular. The sheer, ultra-feminine dresses clashed beautifully against heavy faux furs and structured rugby knits, balancing softness with edge. There was a tension to it, a feeling of good girls who don’t play by the rules, bad girls with a soft heart, rugby boys thrown into the mix. The silhouettes were exaggerated but never overwhelming, the details meticulous as always—because if there’s one thing Rocha does better than most, it’s making excess feel intentional.
This felt like an evolution, not a departure. The Simone Rocha woman is still here—dreamy, undone, floating through the world in layers of tulle and lace—but now she’s got an edge sharper than before. The hints of prep—**chunky cable knits, striped polos—**felt almost ironic, twisted just enough to fit within her universe. It’s femininity, but not for the male gaze. Softness, but with bite. Simone Rocha continues to sit in a space that no one else is touching, and Fall 2025 just solidified why she doesn’t need to.
Emilia Wickstead
Emilia Wickstead is always polished, always refined, and Fall 2025 was no exception. The Hitchcock inspiration was clear—prim, structured, cinematic—and she played with that tension between elegance and restraint. The tailored coats, fitted mid-century silhouettes, and sharp eveningwear had a certain Tippi Hedren, “poised but ready to snap” energy. Visually, it was cohesive. The colors had an interesting push-and-pull—some deep, moody hues, others more jarring—but the overall aesthetic was exactly what you’d expect from Wickstead: timeless, feminine, sophisticated.
That said, this isn’t my style, and I don’t think it’s meant to be. There’s a very specific woman who wears Emilia Wickstead—someone who gravitates toward that old-money, ultra-put-together, classic-with-a-capital-C look. It’s not particularly exciting, nor is it meant to be. The collection was well-executed, but the heavy sandals? A miss. The overall effect? Beautiful, but a little too pristine, a little too predictable. If you love her, you’ll love this. If not, there’s nothing here to pull you in.
Richard Quinn
Richard Quinn’s Fall 2025 show was a straight-up dream world. He took us to a snow-dusted fantasy, where Old Hollywood met gothic romance, wrapped in layers of tulle, opera gloves, and larger-than-life silhouettes. The florals were rich, the embellishments were meticulous, and every look carried that signature Quinn drama—couture-level craftsmanship with a theatrical edge. The bridal-inspired pieces? Pure magic. The whole show felt like stepping into a cinematic fever dream, where glamour and fantasy collided in the most extravagant way possible.
But here’s the thing—this was classic Richard Quinn, almost too classic. No doubt, it was stunning, but was it new?Some pieces felt like déjà vu, leaning heavily into familiar couture references without really pushing forward. That said, Quinn doesn’t need to reinvent himself every season—he’s found his lane, and he’s making it impossible to look away. When a collection is this beautiful, this indulgent, this rich in atmosphere and craftsmanship, it doesn’t matter if it’s unexpected. It just matters that it leaves you mesmerized.
Dilara Findikoglu
Dilara Findikoglu’s Fall 2025 collection was dark, opulent, and rebellious—everything she does best. The armor-like leather, tattooed bodysuits, and sculptural shell bras made for a visually striking show, dripping in attitude and mythological undertones. Staged in a gritty warehouse, it had that underground, raw energy that immediately pulls you in. But while the spectacle was there, some pieces felt familiar, like echoes of McQueen, Gaultier, and Galliano-era Dior. It was beautiful, but at times, too referential rather than something entirely new.
That said, Findikoglu knows how to craft a world, and that’s what makes her exciting. The Converse collab and leather separates added an interesting wearable edge, even if they clashed slightly with the grander, couture-like pieces. She has all the elements of a designer who can push boundaries—the vision, the drama, the craftsmanship. But for her next move? I want to see her take these ideas and fully make them her own.